Music Supervision and Consultation
Creative consulting, searches, and bespoke briefs
Voted '2020 Music Supervisor of the Year'
UK-BASED SUPERVISOR WITH IN-HOUSE TRAILER AGENCY BACKGROUND
'MUSIC & SOUND AWARDS' TRAILER JUDGE
Independent Music Supervisor & Consultant for the trailer industry:
Searches for trailers/promos/spots for film, TV & games.
Creative consulting; bring me on board in the early stages and I'll help you find a tone for your project. I can help out with 'tonal moodboards', giving you some references and points for consideration, to help you find your feet. A benefit of tackling this early means you can inspire other departments in your team [GFX style, approach for copywriting, editorial pacing] if you're still in the stages of forming a unique world and 'voice' for your project.
Overseeing bespoke work for trailer projects; I'm a composer myself, so I can give you an idea of the feasibility of your concept or I can handle the whole process for you from idea through to arranging recording/composition with vendors and delivering you some options.
** ‘Music Supervisor of the Year 2020’ (AIM Sync) **
** Music & Sound Awards Finalist: ‘Best Re-Record or Adaptation for a TV Trailer/Promo’ - The Crown Season 3 **
** Full Member of the Guild of Music Supervisors **
** Jury panel (trailers): upcoming Music & Sound Awards 2021 **
** Jury panel: 'Best Independent Sync' at AIM 2021 **
** Listening Session Expert at AIM Sync 2021 **
** Case Study Speaker at AIM 2020 **
** Delegate at M for Montréal **
My approach to music in more detail...
I have a very 'non-discriminatory' approach to the music I listen to and store for future projects. What I mean by this is: my focus is not upon the name/label, or an artist's 'following', unless a brief requires it.
My focus is first and foremost on what the music sounds like, whether it has a distinctive sound and identity, and whether I can see it fitting anything I might work on. Please note: my main area of work is within trailers, so please tailor samplers towards trailer/promo usage.
If you've got great music, I don't care if it's your first single or your tenth award-winning album...It's all about the quality and if I could feasibly land it in a project.
In fact, it's a really rewarding experience to uncover unknown artists or composers who are clearly talented at what they do, and expose them to producers and editors.
But one thing I do expect is for there to be metadata in your music! I don't want to encourage someone to take a chance on an unknown composer and then later find I can't contact them to clear their music... And you wouldn't believe the amount of times I've had to rule great tracks out of urgent briefs because no instrumental was sent (I won't always have chance to reach out to you and follow up in the middle of a project).
So, *composers/producers/agencies who want to send music* ,
I ask the below things not just to make my life easier, but to ensure you don't miss out on a golden opportunity.
I'd love you to reach out, but please follow these submission rules:
Include as much metadata as possible
Include instrumentals where available
If you have a 'niche' sound or you do something very distinctive in your work, shout about it!
Submit to this link:
Thank you in advance - and I hope we can find a home for your music!
What is “Rubato” and how do I pronounce it?
Rubato has long been my favourite musical term - it gives the player some freedom to play with timing and expression. In doing so, you can breathe fresh life into a piece. It gives the piece personality.
This is what I strive for in all projects: an approach that goes beyond simply what ‘fits’, and instead helps your project to stand out.
F.A.O. Artists looking to submit music - see 'ABOUT' section for my Disco inbox link and submission "rules" to ensure I can get your music in consideration for briefs quickly and easily! :)